I saw this film a couple of times when I was a film student, and it was a delight to rediscover it ten years later. Perhaps it is one of those films that are mostly seen by students, but it was in fact a hit in 1966. This may sound pretentious, but it’s a film one should experience. Just lean back and enjoy it and stop thinking too hard about it. Don’t analyze it to death.

The story is simple. We meet a fashionable London photographer called Thomas (David Hemmings) who spends his days coming up with new fanciful ways of shooting attractive models and scouring antique shops for props that might come in handy during the photo sessions. One day he just grows tired of the whole thing, grabs a camera and heads out to a park. He takes a few random pictures here and there and suddenly comes across a couple in the distance who are embracing. The woman, Jane (Vanessa Redgrave), discovers Thomas taking pictures of her and runs to him, demanding to have his roll film. He refuses, but tells her she can have the pictures of her once they’re developed. Reluctantly, she agrees. A short while later, she comes to his studio; he hasn’t developed her pictures yet, but he’s curious of this mysterious woman. They come close to having sex, but she leaves him after getting the wrong roll film. After indulging in an orgy with two teenage girls who want to become models (hey, it’s the ‘60s), Thomas gets to work on the pictures and makes a startling discovery. One of the photos shows Jane looking at something with a disconcerted expression in her face. Thomas keeps blowing up the picture and discovers what looks like a man holding a gun. That night he heads out to the park and discovers the dead body of a man. He hears a twig snap somewhere in the bushes and runs away. When he returns to the park the next day there is no sign of a body. That is basically the story of the film, but that’s only a small part of the experience.

It is director Michelangelo Antonioni’s first English-language film and it was shot in London, carefully capturing everything that was “swinging” about the era. Several half-anorexic models appear as themselves, including Verushka and Jane Birkin, sporting whatever ridiculous wardrobe that was the craze of the day. The bizarre orgy scene has the two girls wrestling with Thomas and each other clad in nothing but a pair of brightly colored panty hose; Mr. Hemmings has made sure to play the photographer as pretty much a self-satisfied prick. There are other typical features of the era. There’s an odd concert sequence with the The Yardbirds (where the director truly challenges his audience and it’s anyone’s guess what he’s trying to say; I don’t know), Herbie Hancock’s contemporary music accompanying certain scenes… and then there’s the rags, students with white-painted faces who drive around in a jeep, making cheerful noises and collecting money for charity. All this is “swinging” London and it’s a fascinating study. Then there’s the mystery. Who is Jane? What has she got to do with the murder? Who was murdered? Was there even a murder? Mr. Antonioni is playing with Thomas as well as his audience and it’s all about the atmosphere (listen to the wind blowing through the leaves in the park) and illusions. The mystery has no other meaning.

The movie ends with the rags doing a mime act. They’re pretending to play tennis and suddenly Thomas can hear the sound of the non-existent balls hitting the non-existent rackets. It’s a complete illusion… just like the whole film.

The YouTube clip shows the trailer.

Blowup 1966-Britain-Italy. 110 min. Color. Produced by Carlo Ponti. Directed by Michelangelo Antonioni. Screenplay: Michelangelo Antonioni, Tonino Guerra. Music: Herbie Hancock. Cast: Vanessa Redgrave (Jane), David Hemmings (Thomas), Sarah Miles (Patricia), Jill Kennington, Verushka, Peter Bowles… Jane Birkin, The Yardbirds.

Trivia: Terence Stamp was allegedly considered for the part of Thomas.

Cannes: Palme d’Or.

Published 2007-02-11 05:38